This may explain the height differences in the projects themselves, a one-story terrace extending about half the facade in Berlin and a lower volume where the building turns the corner in Stuttgart.
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The 1929 competition for the redesign of Alexanderplatz in Berlin finally gave Mies the chance to bring together at a truly urban scale the ideas about city and architecture that he had developed for most of the decade.
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But walk just a few steps to the adjacent main square and you'll be in front of a much larger monument, a Renaissance fountain with the figures of Hercules and a dragon.
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(Talk about branding and rebranding!)
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One would associate dragons, griffins and other mythical beasts to antiquity or the middle ages, not to the modern city. But I am, coming to New York and suddenly it flashed through my mind: King Kong.
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Perhaps no mythical beast associated with a city, at least in the western canon, is more famous than the Lupa at the center of Rome's foundational myth.
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Between 1958 and 1973 Sert's office designed three major buildings for the university: Holyoke Center (1958-65,) Peabody Terrace (1962-64) and the Science Center (1973.)
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If King Kong was a product of the Great Depression, Godzilla embodied the worst nightmares of the post-WWII nuclear age.
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In about 250 years, the city had completely reshaped its geography, turning what was virtually an island with an irregular perimeter and number of hills, into a regular and rather level urban mass almost three times its original area.
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This also reinforces my "theory" that we only know one city, the one we are from, and we simply extrapolate when we try to understand all other cities.
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By the time René Clair completed his film "Entr'acte" in 1924, Dada had run its course, and the movie itself can be seen as document of both the art "wars" of the period and the death and burial of the movement.
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Sometimes, a peculiar historic circumstance turns a city into an outsized point of convergence.
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How many examples of bridges that inspired mathematicians can you think of?
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Often, travelers arriving to Istanbul have depicted a city of hills, domes and minarets. Instead, when the legendary French photographer Henri Cartier-Bresson visited Istanbul in 1964, he chose to point his camera deep into the life of the street.
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In response to these steep slopes, Lisbon developed a number of ingenious and rather extraordinary forms of transportation, including several funiculars and elevators.
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As far as I know, Horacio Coppola was the only Argentinean student at the Bauhaus.
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In the earlier part of the 20th century, most if not all night views of the city were an expression of modernity, literally the bright side of modernity.
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But he was much more than a crime photographer. He captured in his images the whole urban drama of a moment.
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In the last few years astronauts at the International Space Station have been producing an extraordinary collection of images showing large cities at night.
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How do you draw the map of the city at night?
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